Every Day is a Winding Road: St. Paul Peterson Talks 2 Beautiful Nights

  

  Paul Peterson's life has been a music-filled journey.

  The singer, instrumentalist, writer and producer is best known to Prince fans as "St. Paul," co-lead singer of fDeluxe, fomerly known as The Family, along with Susannah Melvoin. The band also includes Jellybean Johnson on drums and Eric Leeds on saxophone.

  Peterson, like Melvoin, also comes from a musical dynasty: his late father was an organist for the Minnesota Twins; his late mother, Jeanne Arland Peterson, was also a much-celebrated pianist and organist; his sisters Patty and Linda Peterson are accomplished singers, his brothers Ricky and Billy Peterson are renowned musicians and producers and his newphew Jason Peterson (JP) DeLaire is a songrwiter, instumentalist and vocalist. He has worked extensively with his family and many other artists including Steve Miller, Oleta Adams and Donny Osmond.

  Peterson is currently the program chair for recording and music technology at the Minneapolis Media Institute and reunited with his fDeluxe bandmates a few years ago. They recorded the album Gaslight (and a remix album titled Relit) and done several shows including a Prince tribute concert at Carnegie Hall in February.

  The band has three shows next week: one at 8 p.m., City Winery, Chicago, August 22 and  at 7 p.m. and 9 p.m. Dakota Jazz Club, Minneapolis, August 23. They are also currently in the planning stages of their newest project, Underneath the Covers, an album of cover songs, in conjunction with their fans who are making monetary pledges via pledgemusic.com to help fund the project.

  Peterson got his break at 17 years old in 1983 when he was chosen to be a keyboard player in The Time, along with Mark Cardenas, replacing former members James "Jimmy Jam" Harris and Monte Moir. (Terry Lewis, the band's original bass player, had, along with Jimmy Jam, been let go from the band).

  He was later chosen by The Purple One to head fDeluxe after The Time broke up. He left that band, after they released their first album in 1985 to pursue a solo career. His self-titled solo album was released on MCA Records in 1986. He released later released two more solo albums, Down to the Wire (1990) and Blue Cadillac (2007).

  Peterson took time out from his vacation by the lake last week do an interview for "Dyes Got the Answers 2 Ur ?s," where he discussed growing up in a family of musicians, the bond he shares with his fDeluxe bandmates and teaching the next generation of people entering the music business:

  My mother always said to do your musical homework and she was right. I always made sure to go beyond the call of duty when it came to studying my harmony and musicality. She always made me strive to be a better musician and it really helped. I feel it helped me be a better musician and a better person.

  My relationship to music is a love relationship. It's a spiritual relationship. It's a living-and-breathing relationship. It's a daily courtship that never seems to end. It seems to be a deeper relationship as I get older. I seem to understand that relationship better as time goes on. I have learned to respect and never take for granted the relationship I have with music.

  When I was a kid I thought everybody in the neighborhood played instruments. I grew up the youngest of the Peterson family and everybody in my family played (instruments). So, I figured that everybody else's family played, too. When I met a new kid on the street, I'd say, "Hey, what do you play?"

  My brothers and sisters are my teachers. They came up before me, not only in life, but, in the music business. They taught me so much about music and invited me into their world, even though I was the little brother they liked to pick on. They always included me in nearly everything they could musically. (I am) pretty grateful to them for everything.

  When I auditioned for The Time...(laughs faintly) I was scared to death. I'll never forget it. I was, of all things, on vacation in a place called Breezy Point and I got the call for the audition.

  (I) went home and I did not get the cassette tape on time. I got it the night before the audition and had to learn everything the night before the gig.

  I was nervous. I went in did the best I could, based on all the training I got from my family and all the gigs I had done prior to that. I guess it turned out okay. I wish I could remember the exact number (of songs I played), but, it felt like a million songs. It was probably four or five.

  I never dreamed... (speaking in a very deep voice) I'd be talking to you. I've been waiting all my life, baby, to talk to you. I've been waiting many years. (Laughs). Say the question one more time and I'll give you a real answer!

  I never dreamed a little white kid from Richfield, Minn. would end up being in the hottest African-American band in America when he's 17 years old. I never dreamed that Prince would pick me to be the lead singer of  fDeluxe. There's a lot of those. I could go on forever on that. I never dreamed I'd play music with my sisters, brothers and my mom for my entire life. I never dreamed I'd finally get on vacation (laughs).

  The first time I met Prince was at the first callback—my second audition (with The Time). He wasn't at the first one. I was nervous. He was this big rock star.

  He walked into the room and I think we were picking out swatches for the material we were going use for the suits in the movie ("Purple Rain"). It became my orange suit. I had picked out a beautiful black pinstriped suit and he said "No, you've got to stand out." Then he picked out an orange one for me. I said "I'm not wearing that." He said "Yes, you are."

  So, that was one portion of our meeting.

  Filming "Purple Rain..." talk about being thrown to the wolves, in a good way. My phrase is "Be ready for the opportunity, because, you don't when it's going to strike." I was fortunate enough for that to be a pretty incredible opportunity.

  Those guys put me right in the mix. One minute, I'm auditioning for the band, the next minute I'm filming for a little film. We didn't know what it was going to do-- now it's turned into an incredible entity and is part of music history. It's pretty humbling, but, you never know that going in. You have to be ready.

  I think growing up in that family of mine prepared me for a lot of different situations. (But), it couldn't prepare me for what those guys gave to me. It was a whole new line of education.

  The one and only scene where I had a line was when we're (The Time) walking through the back hallways of First Avenue and Morris Day leans back and says "How's the family?"

  They had us there quite a bit, more than you would think. (There were) a lot of club scenes. We didn't have any major speaking roles, but, we were there a lot. It was freezing. I remember that.

  Paul Peterson on replacing departed members of The Time: "I didn't understand the relationship that those guys who remained had with the leaving members. I was a little on the oblivious side. I was so green, which was probably a good thing.

  Looking back, it was probably hard on them. It wasn't hard on me. I'm sure losing their best friends was hard on them. They started this band together, now, they've got some kid from Richfield coming in trying to fill these shoes. I'll tell you what, I think it took a minute for them to adjust to it.
  But, Bean (Jellybean Johnson, the band's drummer) and I have been tight for 30 years. I call him my big brother. No one ever knew we'd have relationships that would last that long."

  I love teaching so much that I am the program chair for recording and music technology at the Minneapolis Media Institute. The campus is at the old Flyte Tyme Studios.

  It's a very interesting connection that I have with Jimmy (Jam) and Terry (Lewis), taking their places in The Time and, later, being in their studios teaching the next generation of producers and engineers how to win in the music business. It's fulfilling and incredible.

  The building was up for sale and my friend Tom Tucker bought it with another partner. They started a school, which became Minneapolis Media Institute. I ended up heading it (the program) after Tucker passed away. I tour less now. You never know what you're going to get with teaching. I can tell you that it can be really fufilling and really frustrating.

  You know and I know what it takes to make it in the (music) business. Some of these 20 year olds-- who think they know everything-- don't understand the work ethic that you need to be able to succeed. I feel that I get paid to teach them how to be teachable: to try (and) change the culture of the next generation of producers and engineers so they understand what it takes to make it in the ever changing music business.

  It's probably harder now to make it in the music business than it was when I was coming up. You could sell records when I was coming up. Now you can't sell records anymore. There are a very select few people who sell records.

  These guys have to figure it out. It's the wild west. We arm them with as many different skills as possible so they can have multiple income streams, put them all together and be able to make a living. It's challenging, but, it's fun.

  I've been teaching for 12 years. I've been the program chair for two or three years. It's funny, sometimes, I'll just show my students my (music) videos and give them a little ammunition. They say "That's you? Are you dancing on the ocean?" I'll say "I'm dancing on the ocean, yes I am."

  Paul Peterson on filming the video for his first solo single "Rich Man": "That (music video) cost more money...I'm still paying for that video! (Laughs). You know Paula Abdul was the choreographer. Yeah, that was my girl. (A.J. Johnson, of "House Party "fame, who is also featured in the video) used to date my drummer Sonny Emory. She was a great friend of mine.

  I introduced her (Abdul) to the producer (Oliver Lieber) who wrote "Forever Your Girl," "Opposites Attract" and all those tracks. That's my boy. He's in the band as a matter of fact (as fDeluxe's guitar player).

  It was fun. I'm not the greatest dancer in the world. I think she had a struggle with me. I was long, lanky and didn't grow into my body until about 10 years after that video. She made me pull it off though. I've got to give it to her. We spent a whole week on dance steps...and she turned me into something that I wasn't. That took me out of my comfort zone."

  fdeluxe's new covers album should be incredibly interesting. We are still in the process of picking out songs. Everybody has their own favorite songs and (we) want to make sure they fit the fDeluxe style or that we can arrange them into the style. Lieber's going to produce it and hopefully, if this pledge comes to fruition, we'll start as early as October and have it out by Christmas.

  We all have such eclectic tastes. We're looking at David Bowie, or obvious ones like Bill Withers and Sly and the Family Stone, to less obvious ones like Red Hot Chili Peppers.

  It's going to be interesting. It's all about the song. If you have a good foundation of a song, you can pretty much go in any direction you want. Leiber is such a killer producer that if I can just leave it in his hands and keep my claws off the steering wheel, we'll be fine.

  He wrote "Rich Man" with me and my brother ended up producing it. He had his hands in the production as well, but, he didn't get any credit. Sorry Oliver, I love you.

  I haven't looked (at the pledge percentage) in a couple of days, because, it's like the stock market: you don't want to keep looking at it. I think we are past the 50 percent mark with another month to go. (As of this writing, the fan pledges have reached 59 percent of the goal with 34 days remaining).

  Our fans have been pretty incredible. There are some great and interesting exclusives on there and people are taking advantage of them. There are (pledge amounts) from $12 to $20,000.

  I'm inspired by a lot of different artists, especially Stevie Wonder. It's funny that you would ask that question, because, sometimes I can into a little bit of a "Why did I get into this business in the first place?" attitude.
  The last month has kind of been that way for me. I've been driving back and forth to the cabin and I've been listening to incredible artists that I grew up loving: like Wonder-- the early records, even before Songs in the Key of Life-- George Benson, Breezin. I got to work with all these guys. That's the cool part. But, this is where it all began, where I fell in love with what I do. Then you go to Earth, Wind and Fire and Steely Dan. The musicality and the groove that is in all of that music. That inspires me.

  All the inner harmonies and melodic tensions that are created by groups of musicians just being in a room with each other, having a conversation, musically, is so incredibly inspiring. My family inspires me. They kick my ass all the time. They don't let me slide on anything and that's good. They made me a better man and musician for it.

  I've always wanted to tour a little more extensively with fDeluxe, my friends. But, that seem to be a little bit harder to do as we age. Not only because we're 50 years old, but, because, we all have separate lives. No one's banking their incomes on it; we're doing it more for fun than anything else.

I wish that we could make it more of a...full-time, making records, making a living situation, because, we love doing it. It's just that we've got kids--in grade school and in college. We all have different lives and we come together when we can. But, I wish we could do it more often.

  It all changed... (speaking in a deep voice) when we started talking on the phone tonight, baby. (Laughs). It all changed...huh? It all changed when I got that audition for The Time. Everything changed.

  It led to other things. When I was done with The Time and done with fDeluxe (in its first incarnation under Prince), I toured with many different artists like Steve Miller, David Sanborn, Kenny Loggins, Oleta Adams. Everything changed when I got the nod. Somebody said "Yeah kid, you got it."

  We all look for that one break. I guess that was it.

  My first solo album was probably one of my favorite records I've ever done. I learned a lot. I was frustrated, I was creative, I was green and I didn't know what I was doing. I got paid to learn. That was my music college right there. It cost a hell of a lot more than it costs today, though. (Laughs). MCA Records is probably saying "Yes, it did."

  I learned so much about songwriting, production, being a solo artist: trying to be a pop act or an R&B act. You've got to set yourself in that midset and I could not lean on someone like Prince to do it for me. In fact, (it was) quite the opposite.

  I really learned what it was like to be a producer, a songwriter and an artist on my own without the help of someone who is a complete superstar. I'm so proud of that record. It stands up to this day: great songs; really good musicians and great interplay. I have no regrets with that.

  I was out in L.A. and I got a call from a gentleman at A&M Records. He wanted me to come over and talk about doing some production on a kid named Janet Jackson. Well, I knew who she was. This was before "Control," when Jesse Johnson was working with her.

  I went over there and he (the representative for A&M Records) said "I don't want you to produce Jackson, I want you to leave Prince and come with me." I said "What? Leave Prince? Are you nuts?" Then he showed me the dollar figure he was talking about and I said "Oooh, I could do that!"

  When you're 18, 19, 20 years old, you think you are invincible and you think you can do everything. Thank God I had the background with my family -- musically and business wise -- growing up. That's basically how the ball started and it turned into a bidding war with MCA Records, where I ultimately ended up. Then, I had to tell Prince I was leaving. That was not fun.

  It's such a whirlwind when you're in the middle of it. You have no idea. It was tramatic. My own family said "Are you sure you want to do this? Are you crazy?"

  Paul Peterson on recording the song "Feline" : (I was) trying to learn how to rap, I don't even know if they called it that then. I still remember that rap to this day for some reason. (Singing lyrics) "Feline, get my body working..."

  It was funky, it was nasty and I was worried about what my mom would think. (Laughs). You know, (Prince) never talked to me about what the plan was (for that song). He and I didn't communicate on that level. That was his baby. So, I can't say for sure.

  I've never understood racism, because, a lot (of the time), in music, there really are no racial lines. I was talking with Sinbad about this the other day. Maybe I am just oblivious, but, I've been playing Black music my entire life. I've been accepted in that scene, maybe, because, the culture of musicians are very inclusive. When I see stupid shit that people do to each other, it just baffles me.

  It may happen in the music business, but, I believe it's way less prevalent. You're also talking to a Caucasian here who could be absolutely oblivious to it. But, as far as I see, where I'm coming from, it's all about the conversation, the musicality and experience through your instrument.

  fdeluxe was always funky. No matter if you're talking about the first record or the second record. Nobody expected us to remain friends for 30 years and want to come together to create new music. We ignored it for a while. We did a couple of reunions, with Sheila E. and ?uestlove, (but), the stars were not aligned to take it to the next level. But, when we finally did this thing with ?uestlove, Susannah and I looked at each other. We spent the next four years making that record (Gaslight).

  We laughed, we had a great time and we had to find a groove with each other. You know, I'm not surprised we're still making music today and we'll continue to make music into the future.

  The key to songwriting is playing chords that mean something to you: that do something to your soul; that have an emotional attachment; that you can put into a phrase for some wordsmith to put their craft on top of.

  I've always been a way better music writer than a lyric writer. I feel my strength is in harmony and melody. I've been going back to my idols and listening to all this music. I was listening to Steely Dan on the way up here: all the musicality, arrangements (and) all the best of the best. That moves me.

  As long as something is moving me, I know I'm doing something right. I believe in it. I don't just phone it in.

  Our upcoming concerts are going to be great. I can't wait to see my friends again and play some music with them. We have such a great time. It's really all about the hang and the music. It's so fun to see our fans. We know that they're out there. We know that they've been waiting to see us.

  We never had an opportunity to tour as (the first incarnation of fDeluxe); now we're trying to make up for lost time. We always involve our fans (and) we're excited to see them; excited to bring the old music and new music to them. Its gonna be rocking.

  The key to success...work hard.You have to bring it. You cannot half ass it. You have to always be 110 percent. Bring it every time and believe in what you're doing. Otherwise, don't waste your time. And practice. It's no mystery how people are successful. Work at it.

  Working with Donny Osmond...what a blast! One of my favorite people on the planet. You want to talk about a hard-working guy? He is everything I just described. The guy never stops.

  He's an incredible engineer. He can wire a studio. The guy wins "Dancing with the Stars," because, he's so freaking competitive. He doesn't want anyone to beat him-- probably because he's the little brother.

  We had a blast with each other. I warped the poor guy. He has this reputation for being the sweetest little man ever. Of course, I completely warped him. (Laughs). I mean, nothing bad or anything, but, we had fun. We traveled the world together.

  When I was doing my second record (Down to the Wire), his producers ended up producing my record. They were finishing up his record when we were having some meetings. Donny and I saw each other... and it was just such a connection. We were laughing just like little brothers. It was just weird.

  He is an incrediby gifted man. He really is. Good people. Probably the most unaffected rock star I've ever worked with.

  It's been hard gathering the members of fDeluxe to finish a record in a timely fashion. It is very difficult, because, everybody's busy.

  The Carnegie Hall Concert...wow. I think that's all I have to say about that. One of those life moments you never forget. We rocked them pretty hard. I'll never forget that.

  When we were done playing the songs everybody (in the audience) stood up. I was busy trying to wrap up my bass and get off stage. Wendy Melvoin grabbed my arm and said "Stop. Look out there. That's for you. Drink it in." I owe her a lot for that. She really made me look and take that in, you know?

  We've worked a lot of years to get to a point like that. So, it was pretty incredible to be recognized like that.

 
  The things that matter are what I'm doing right now: hanging with my family; being good to your kids, good to your mate, spending time, being good to one another. That's the most important stuff on the planet. Peace and love, man. I'm a '60s baby, aren't I? (Laughs). That's true, though.

  Down to the Wire and Blue Cadillac ...two very different records, but, great records. I'm proud of both of them.

  (Down to the Wire) is a little more pop-rock, which was an area that I was encouraged to go by my managers and my record company. I loved the record, but, it wasn't necessarily my M.O. I was blue-eyed soul, if that's what you're going to call it. It was a departure for me, it was an exploration.

  I think that they were taking a risk on alienating my fans and finding new ones. I was trying to take the advice of people who were very successful. It's not a bad record. I love every song on there. It's just another side of me. I think that record is very well crafted... There wasn't a lot of rock-and-roll guitar and straight ahead pop stuff going on in my earlier records.

  Blue Cadillac came back and was kind of funky. That was me going back in the other direction.

  In a family full of musicians...I got the best of every possible portion of that. Being the youngest was the greatest education of my life. Competition? Yes. But, competition, because, they wanted me to be better. Competition, because, they wanted me to be great and do great things.

  Being in a family full of musicians means you play together, you spend Christmas together and you do gigs together. You hang out with each other. You could be on tour busses together.

  I got to tour with my brothers in The Steve Miller Band, with me playing rock guitar. We were all on the bus together. It was incredible. My nephew and I toured with Oleta Adams and Donny Osmond. My brother, Ricky Peterson, and I toured with David Sanborn. I've done countless records with them all in different points in time. It's been an incredible ride and a blessing.

   Recording the first fDeluxe album (Gaslight) was an exploration to see what we'd come up with. It was an experimentation. It was the culmination of our life experiences and musical experiences in the songs that you hear.

  Susannah Melvoin and I wrote the bulk of that record. We had not ever written a song together. We had to find our groove and it took a minute to do that. We love other and we fought like cats and dogs...We made each other make a better record than we would have done (individually). That's what being a band is: you make each other better. That's what I think we do.

  It took four years, because, I was on tour most of the time. But, (it is) a great record. I'm so proud of it.

  If I could change...I wouldn't change anything. Everything I've gone through has made me who I am. I like who I am.

  I wish I could change that my mom wasn't more famous. She was pretty famous back home, but, she was a world-class pianist.  Nothing for me. I'm cool. I've done as much as I could ever want to do. I ain't done yet, either. Plenty more to come. (Speaking in a deep voice) Stay tuned...

  Click below for more information on upcoming fDeluxe shows:

  8 p.m., August 22, City Winery, Chicago

  7 p.m. and 9 p.m., August 23, Dakota Jazz Club, Minneapolis

  To make a pledge toward fDeluxe's Underneath the Covers album, click here.

  Stay Beautiful, Kristi

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The Rest of My Life: Gayle Chapman Talks About Events After Prince

 Gayle Chapman has no regrets about her time out of the spotlight.
 Chapman, a keyboard player in Prince's first touring band, worked with the artist for two years before she left the band in 1980.This was only a few years into The Purple One's evolution into a musical icon and before he released a string of wildly popular albums that began with 1999 (1982), accelerated with Purple Rain (1984) and lasted well into the 1990s.
  Chapman has been active in the music scene in Boise, Idaho, where she has lived for more than 25 years. She is bringing her act to Washington and headline an upcoming show at 7 p.m. Aug. 9 at The Mix, 6004 12th Ave. S., Seattle, with special guests Old Blue and Clayton Ballard. She will play original music, as well as three songs from the unreleased album "The Rebels" (1979), recorded during her time with Prince: "If I Love You Tonight, "You" and "Lovin' You."
  Dyes conducted an interview with Chapman last month, by both phone and e-mail, where the musician discussed why it was hard to leave Prince's band, trying to make a living in New York City in the 1980s and her upcoming album:

  ?: How did you get into Prince's first touring band?
  GC: I was standing in my living room and I was listening to Prince's record (For You), full blast. I was home alone and this still, small voice shot through my mind. (It was) just like an arch from above that went through my head and back out again. It said “In order to tour, he's going to need a band.” 
  I turned off the music and looked around. God had spoken to me. (Laughs). I'm not kidding. I mean it was wonderful and spooky at the same time, because, I was home alone and I heard a voice. I was in pursuit of what it would take to be in (his) band from that moment on. 
  I auditioned (for Prince) and didn't hear from him for three months. One day, I was in my apartment, in bed and it was probably noon. The phone rang. I wasn't expecting a call from Prince. He said “Gayle, this Prince. What are you doing?” I said “Oh, hi. How are you?” He said “I'm good. Can you make it to rehearsal?” I didn't have to think about it at all. I said “Where is it?” and he told me where it was. I said “Yeah, what time?” He said “1 p.m.” It was noon. I was 45 minutes away, had to load all my gear and get dressed. I made it there in probably 35 minutes. (Laughs).
  I had the thought (to be in Prince's band). I went after it and then, I waited. And waited. I basically gave up. Then, the phone rang. I think what happened in the meantime was that he hired Linda Anderson (Andre Cymone's sister). She was there before I was, but, I didn't know about that until last year. 
  At one point, in my own frustration in working with him, I asked (Prince) “Why did you hire me?” He said “You have blond hair, blue eyes and you can sing. You're the funkiest white chick I've ever met.” I guess that's a compliment. I'll take it. I'm hard pressed to believe that now, because, there are a lot of funky white chicks out there. 
  ?: Do you remember the moment when you decided to leave Prince's band?
  GC: Do I remember the moment? No, I don't. What was I thinking? God only knows! I realized that I wasn't growing and I needed more. That's about the sum of it...I was in Prince's world and if I stayed, that's where my growth and energies would be and I wanted more.   (People) always ask me “Did you leave, because, of Dirty Mind?” I'd like to roll my eyes and say “No, it wasn't my Dirty Mind, it was his.” Yes, I did tell him that I did not want to sing that song (“Head”) but, I sang “You.” So, what? (Singing lyrics) “You get so hard I don't know what to do.” How stupid was I? “Take your pants off!” (Laughs). No, I really digress...
  I don't know if it was the mother instinct, because, it didn't feel like that. But, I wasn't growing. I was in a band, touring and it was the most fun I had in a long time... But, I needed more and I couldn't put my finger on what it was. I just knew I had to go.
  I look back now and I probably would have been wise to stay another couple of years. I could have hung in there. But, I needed to grow. So, I left. And now I wax poetic...
  ?: How did you tell Prince that you were leaving?
  GC: We met at his house. He lived on Orono Bay on Lake Minnetonka. I told him I needed to talk to him, because, I was thinking about leaving (the band). I asked if would he have time to sit down with me. He said yes. I lived about a mile and a half down the road from him in a cabin on a resort.  I went over and we sat and talked. He wasn't happy that this white chick was leaving. The last thing he ever said to me was “Gayle, if you ever need my help, you just let me know.” 
  ?: When you decided to move on was it a tough decision for you?
  GC: It was a very difficult decision to leave. It was a job. If I was going to have “jobs” the rest of my life, there were jobs where I could make a lot more money. I just happened to like that one a lot. That's why it was such a tough decision. The perks were amazing. 
  The perks of working with Prince were that you were paid, whether you performed or not, because, you had to be kept on the payroll. You would continue to practice and rehearse. When Prince got back from L.A. and said “We're rehearsing,” you would rehearse. That would be it. 
  I flew (on an airplane) every time I traveled and had my own hotel room. There were drivers that would pick me up and take me wherever I needed to go... It was the beginning of what I thought stardom was like. It was work, yeah, but, it was fun. It was attention getting. How many people would show up to a record store to do an interview dressed in their rock-and-roll gear and hop out of a limo. That was me. It's like that to this day. Maybe they show up in minivans, I don't know. 
  There was notoriety. There was flamboyance. There were perks. You could go out and eat wherever you wanted, because, there was always money to do that if you wanted to. It wasn't a lot of money, but, it what was you needed to get by. They would have a microwave in my hotel room and instead of spending my money that way, I would go to a grocery store and buy a frozen dinner or something. 
  Two hundred fifty dollars was more than I had (previously) made in a week. But, it wasn't a lot of money. I just saw that if that was the (salary) cap on what I was doing... I knew that I needed the opportunity to do more and make more (money) if I was going to live the way I wanted to. 
  I have learned, over the years, that it doesn't matter how much money you make, if you have bad habits, you're never going to have any (money). So, you learn to change your habits with what you do with money. You can make $55,000 or $100,000 a year, (but), if you manage your own money wrong, shame on you!

Courtesy of Princefams.com

  Gayle Chapman on being an “employed” musician: I think people romanticize how much (money) rock stars make. It's a business like anything else. Unless you're the “star,” you're not going to make as much money. That's the way it is. 
  They're going to pay you a wage and take care of you, because, you signed on willingly for what you're getting to be there. So, to complain about it is stupid. When you agree to take a job and they offer you a wage, if you're not happy with it, you have say so up front. Otherwise, you're stuck getting that ... If you're not happy, you shouldn't stay. In the negotiation process, some people really aren't happy, but, they stay anyway.
  I was happy, because, I didn't have to be a maid in a hotel or a waitress in a cafe. That just wasn't in the cards for me. I had to work with a rock star or look like one. 

  ?: When you quit, did you leave the band right away?
  GC: I offered to stay on for a while, (because), he had to take time to go find somebody. He said to me, when he found Lisa, “She's amazing, she can play her ass off, but, she can't sing like you.” I think there was a tug of war there. But, it was what it was. I can't say that I have any regrets, about being there or leaving. I just knew it was time to go. 
  ?: What did you do after you left the band? Where did you go?
  GC: I left in April or May (of 1980). I went to a big festival that August called Rock of Ages in New Knoxville, Ohio. It was part of The Way International (a religious organization that Chapman was a member of at the time). It was a big festival held specially for their outgoing and returning ambassadors.  It was an annual event where 20,000 to 30,000 people came from all over the world and spent a week (together). I went to the Rock of Ages every year. It was amazing...they don't do it anymore. I just found that out. 
  I met all kinds of amazing musicians there. I met David Girabaldi, Tower of Power's drummer. Nice guy. Really good looking. Amazing drummer. I also met (the late) Skip Mesquite, who was also with Tower of Power for a while. I met them before (leaving Prince's band). We used to sit down and talk about going on the road: what it was about and things that would happen. When I told them I was going to be working with Prince, they advised me on ways to keep my sanity on the road, since they had been at it for so long by that time. I was really glad to have them there. 
  After that, I lived in New York City for three years. I “grew” there. 
  ? Did you try to get a recording contract when you moved to New York?
  GC: I learned right away that New York was a different bear. They couldn't have cared less who I had played music with. They would say “Who?” After I left Prince, nobody in New York City knew who he was (then). Then he came and did a concert at the Union Square Theater.
  I went to that one. Morris Day and the Time opened the show. That was my only meeting with Jellybean Johnson and Jimmy Jam. I looked at Day on the stage and said “Wow. That's not the Morris I knew.” When I knew him, (He) was this freckled, light-skinned guy with this big Afro, just like Prince had, and was so shy he could barely carry on a conversation with you—at least that's what it seemed like. Either that or he was just shy around girls.
  He basically was a changed person. Prince taught him everything and brought this character out in him. It was pretty amazing to watch. I literally sat there with the sound guy at the front of the house and my jaw was down like “What? Whoa!”
  I talked to Prince and the band for a little bit. This was the first time they came to New York. They were all growing with the things they were doing. I was living in New York City by myself. I don't know what I was doing. I was a kid. I probably should have gone back to school, but, I didn't. 
  Prince came back the next year, or a couple years later, and played Radio City Music Hall.There was a girl, Marci Kenon, who was a teenager (at the time) and had been babysitting for Diana Ross. She loved Prince. She knew about me, found me, got my number and called me up. God only knows how back then. She had been writing some songs.
  She called me before that (Radio City Music Hall) concert. She wanted to know if I was going and if I could get her in. I said “Well, actually, I'm not going.” She wanted to know why. I said “Because, I can't afford the tickets.” There was just stunned silence from a teenager on the other end of the phone. I said, “You know, I work as a secretary, I'm not in the rock-and-roll business working with famous people.” She said “Oh. Well, are you still doing any music at all?” I said yes. She asked if I would help her with what she was working on. I told her I would be happy to. 
  She came over and... I said “Here's how you're going to get in to the concert: You're going to back of the building, wherever that is, and ask for these people. I had no idea about anything at Radio City Music Hall. Nothing. Except that I had been there to watch The Rockettes and that was really fun.
  I didn't go to the Prince concert. But, she went and mentioned all the names I gave her and they let her in. She got to meet the band—Prince, Dez (DIckerson), Cymone, Matt (Fink)-- and they said to her “Who? Gayle Chapman? We thought she was dead. We haven't heard from her at all.” I (later) said “Oh, that's good. At least they're thinking of me.” (Laughs).

  ?: How did you react when record companies were not more enthusiastic about signing you when you first moved to New York?
  GC: In my mind, I was just the first to quit his first band and I had to get work. So, I did.
  ?: What did you end up doing?
  GC: I got to New York City and I had to get a job. I was a cashier and a waitress at the Union Circle Cafe for a while. I later got hired as the cleaning woman at the Cardio Pulmonary Rehab Corporation. Their receptionist wasn't there one day and the phone was ringing. The manager looked at me and said “Our receptionist quit. Can you answer the phone?” I said “Sure.” (Mimics speaking on telephone) “C.P. Rehab Corporation. This is Gayle. How may I direct your call?”  She just looked at me and said “You need a job.” So, I got a job. 
  I went from being the cleaning woman to part-time receptionist while they found somebody. They never did, so, they just kept me. When the office was moved, I moved with it. I became the executive secretary to the president (of the company). I didn't get paid very much. I worked my way up from cleaning woman. Why should they pay me very much? When I left, I think I was making $10.40 a hour.
  What got me out of there was the company's Chief Financial Officer, who was three years older than me, making $44,000 a year and still lived at home. 
  We were all working overtime one night, because, we had to get the yearly prospectus out. I had to do all that typing. I had to type anything that anyone gave me, get it done and be accurate. I was able to do that. 
  I can't remember what started it, but, he came up and made some remark to me (and) I questioned why he said it to me. I think it was something absolutely derogatory and one thing lead to another. I looked at him and said “Look. You're 28 years old, you make $44,000 a year and you live at home. You have the gall to tell me that?” And I just went back to work.
The next thing you know I was on my way out the door. 
  He started it, I finished it. That was pretty much it. To this day, I'll never understand people who do things like that. They make a lot of money, but, they can't get out of their mother's basement? I'd be happy to make $44,000 a year now. To be honest, the most I ever made was $55,000 a year and that's when I was flipping houses (in Bosie, Idaho). I did that for a year. I worked with a broker and one of her agents. We (made) just under $500,000 in one year. I want to get back to it, I just have to find people who want to do that.
  ?:Why did you leave New York?
  GC: I grew up in nature in Minnesota and there is very little nature in New York City. I was very tired of concrete and missed trees. (There was) a lot of consumption going on there. That was when I went into training in The Way Corps.
  ?: In what capacity did you continue to work with The Way after you left Prince's band? Are you currently a member of that organization?
  GC:  I joined the 15th Way Corps leadership training program and stayed with them another five years before leaving. I was married when I graduated. My husband and I moved to Pocatello, Idaho and served there for a while. (We) later moved to Boise, Idaho where we finally parted ways with the ministry and each other. I am not currently a member of that organization.
  ?: You were always known for being a very spiritual person during your time with Prince. What part have your beliefs played in your life since you have been out of the spotlight?
  GC: I really don't know what folks thought of me then, but, I was definitely a practicing Christian believer in "grow mode.” As with any endeavor in life, if you believe (in) it, you will maintain basics and grow throughout your life. I have never stopped loving God, His word or the power that is in the name of Jesus Christ. 
  I do not consider myself religious, and I'm certainly not pious. But, I do believe actions speak louder than words. I use every opportunity that arises to help others-- spiritually, through music, or sharing wisdom from my own personal growth. One of my favorite quotes from a minister was "I'd rather see a sermon than hear one any day!"
  ?: What do you do to stay active on the music scene in Boise?
  GC: I work with lots of musicians, teach a lot of students, and keep my fingers in the pie by writing. I have occasionally had the opportunity to write with some famous people. I hope to get back on the road and gain more insight for writing, arranging and recording. I love it, (but), I need at least one to three other musicians to work and travel with to complete my vision.
  ?: Tell me about your self-titled album? What was the process like?
  GC: (My) self-titled album (released in 2003) was my third recording project for myself. The first was called Standard Laments, and although it was finished, it was never released. I still have it stuck on 1/2-inch 16-track recording tape. It's probably no good now, but, if anyone out there wants to help, who has the right equipment, get in touch with me.
  The second was Change of Direction in 1993 (recorded by Black Diamond, an acoustic duo Chapman formed with Lyricist and Folk Guitarist Jan Skurzynski). We worked for seven years playing locally and occasionally touring Idaho and the country playing festivals. (We later) parted ways. 
  My self- titled album was a process of sifting through musicians here in town to see who would actually do the work required in the studio. It took lots of time and money to get it done.   The first time I tried, I traveled to Hailey, Idaho to record in Big Wood Studios, with Bruce Innes engineering. Unfortunately, he ripped me off, along with a bunch of other people.
  I had to start all over in Boise, Idaho at Audio Lab Sound Recording, run by Steve Fulton. It was finished, but, not without more headaches in the process-- like musicians showing up to the studio unprepared and still wanting to get paid. However, most (musicians) learned the material, and did a great job. I was very thankful for the work everyone did at the studio.
  ?: What will your new album be like?
  GC: I started the new album last April with a guy named Robb Howell, of Robb Howell Music and RH Peace Machine, a great writer and engineer with four gold records. (He) has worked with Ozzy Osbourne, Frank Marino, and lots of others, but, I had to fire him. I didn't figure it out until late in the process that a lot of damage had been done.
  I have this great start of fantastic tracks that I'm in the process of musically replicating. (The album) has the “harder” edge I've always wanted, and I'm staying with the feel of it. The new CD will have lots of new and different stuff, but, it won't come out until I'm satisfied with it.
  ?: What are you most looking forward to as far as the show is concerned?
  GC: The show is my birthday present this year. Life is happening all around me, so, I will be as prepared as possible, given the circumstances. I'm very busy making a living and this is lots of extra work, but, a real kicker for me. I want to do well and I believe I will. Even though I can't bring the guys (Sam Lay and Jake Monroe, two of her music students) I was working with, because, they are underage, I will still have fun. I want people to come with an open mind and enjoy the evening. I will give it my all.
  ?: What do you hope for in the next five years?
  GC: I am looking forward to doing more out-of-state shows, fundraisers, house and theater concerts, working with musicians across the country and going to Europe.
I have no interest in remaining a local musician. It just doesn't offer me enough and I need to be working with professionals on a higher level. I want to retire from teaching and focus on writing, arranging, producing, recording and touring. Life is too short to just live for making a buck. You have to do what you love (and) hopefully you make the money you want as well. 

Stay Beautiful, Kristi

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All photos courtesy of Gayle Chapman except where listed.

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Eye No: Frank J. Morris III Talks 2 Beautiful Nights

  Who is the man with the wealth of knowledge on Beautiful Nights?

  Frank J. Morris III, of Southfield, Mich., has been a mainstay on the Facebook group since it started last fall. He gained popularity on the page by being able to quickly answer fan questions, identify photos and with the infamous Prince-related “Question of the Day” threads between him and Marcus Scott that were a staple on the page in the spring.

  K Nicola Dyes conducted an interview with Morris in May where he discussed how he became a Prince fan, how he acquired his information and why he doesn't want people to think he's a “know-it-all” :

  ?: Tell me about yourself.

  FM3: I was born and raised in Detroit. I have two kids, a 7-year-old girl and 4-year-old boy. I work (giving patients) dialisys, but, music is my hobby.

  I play guitar, bass and keyboard. I've played guitar since I was 11 years old and (learned) the other instruments throughout my teenage years. I do a lot of solo gigs at coffeehouses and opem mic (nights). I was with a band called The Spiral Effect for a year and a half.

  ?: When did you discover Prince?

  FM3: Like everybody growing up in the '80s, (I liked) Prince and Michael Jackson. But, it was more Prince for me. I discovered him when I was three years old, after I saw "Purple Rain." I can't explain what had me so mesmerized. Maybe, it was the way he commanded the crowd (in the film).

  I had a Prince-themed birthday party when I was five years old. They (my parents) bought me a Prince birthday cake, a Prince poster and I got my first guitar. Once I got older and developed an interest in playing music, I leaned more toward Prince, because, he was an instrumentalist, whereas Jackson was more of an entertainer.

  What did it for me was when I read the credits for Prince's (self- titled) second album and (the liner notes) said he played everything on the album... I remember my mouth hit the floor. I was going around showing the liner notes to my family and said “Did you know Prince played all his own instruments?” They said “Yeah, we knew that.”

  That just made me respect him more as a musician; that (he) could be that disciplined to play all (his) own (instruments) on the record. It made me respect music more. As I got older, I found out that people like Stevie Wonder and Paul McCartney had been doing it for years. But, I guess (there was) something about the way Prince did it. (He) melded all these different styles and genres (of music) together, but, made it his own. That just stuck out (for) me.

  For a while, all I listened to was Prince. I had a conversation with my dad, where he said, “You know, Prince is great, but, there are other people that you should get into as well.” It wasn't until my teenage years, I think I was 12 years old, that I discovered Jimi Hendrix. So, for a while, all listened to was Prince and Jimi Hendrix. Then, when the movie “What's Love Got to Do With It?” came out (in 1993), I was on this kick where all I listened to was Prince, Jimi Hendrix and Ike and Tina Turner (Laughs).

  I was (later) reading up on Prince's influences, then that's when I would go back and listen to the people that he listened to...He does so many different styles and genres of music. How can you not like rock music if Prince plays rock? How can you not like funk when he plays funk? I went back and got into Sly and The Family Stone, Curtis Mayfield and Miles Davis because of him. My appreciation for this music can all be traced back to me discovering Prince.

  ?: How did you get into Prince's unreleased music?

  FM3: I discovered the world of unreleased Prince music in 1997, when my mother bought me an issue of (the now defunct) Uptown Magazine. I had never heard of that magazine when she bought it for me. I looked on the last page, through the back issues and there was an issue called the “Bootleg Issue.” I was like “What is a bootleg?” There was stuff out there that I hadn't heard about?

  I didn't actually hear my first bootleg song until 1998 when I moved back to Tennessee to live with my father. When I went down there people already knew that I was a huge Prince fan. They would see me in the hallways and said “You need to go see Mr. Brown.” Garland Brown (then a teacher at Morris' high school) was a huge Prince fan and he (now) posts on Beautiful Nights. I went and found his classroom. It was immediately like kindred spirits, like "Oh my God, I never knew somebody as young as me was into Prince.” Of course, we asked each other “Do you have this? Have you heard that?” We were going toe to toe.

  He brought me a tape of some unreleased songs that I had never heard before. I just flipped out. From then on, I was on this treasure hunt, like “What else is out there?” It just became a fervor for me.

  It actually came at the right time, because, for me, personally, the late 1990s for Prince were kind of musically shaky. I was not really interested in the stuff he was doing. The experimental wave he rode from the 1980s into the 1990s had kind of died down. He didn't seem as inspired anymore. I found myself losing interest, but, when I found those bootlegs, they kept my interest. I felt that until he found his way back to being the great artist I knew he could be, this gave me an opportunity to see all these unreleased concerts and hear all these unreleased songs. It still kept me interested in him.

  I think he (Garland) said he knew a guy in Nashville. He used to go to Tower Records every other weekend and just check out what was there. I know they sold Uptown Magazine up there. I think the guy who worked at Tower Records was his connection (for unreleased music). A lot of places up here (in Detroit) didn't sell Uptown. You had to find it at these little mom and pop record stores. The place (that sold it) here was called The Record Collector and they ended up getting shut down for selling bootlegs. There was a raid and the whole thing was shut down. For a while, I didn't have an outlet to get my magazines. I had to order a subscription.

  ?: Do you remember the first unreleased Prince song you ever heard?

  FM3: I remember he (Garland) gave me a cassette -- this was back when folks were still listening to cassettes-- and if I'm not mistaken, I think the first song on there was “Rebirth of the Flesh.”

  I remember he had been telling me about that song for a while. I think he had to dig the tape up out of storage and every day I went to his class and said “Hey, did you find the tape yet?” and he would say “No, no, not yet.” He had hyped up “Rebirth of the Flesh” so high, that I could not wait to hear it.

   When I put the tape in and heard that first beat of the kick drum...I was just blown away and said “What the hell have I been missing?” Even some of the first 12-inch singles I heard, I heard from him. I had always known that there were 12-inch (versions) and remixes for “Pop Life,” “She's Always in My Hair” and (songs) like that. But, I had never heard them until he hooked me up with a tape with all that stuff on there.

  One day, I think it was during winter break (in Detroit), my mother had to go (to work) to pick up her check. Since me and my brother were out of school, we rode with her. I said “Can we stop at The Record Collector?” We went in there and that's when I saw my first Prince concert bootleg, which was the Detroit birthday show.

 The rest of my collection basically came from trading with people over the internet. Once I started building up a collection, I was able to parlay what I had for more stuff.This was during the early days of eBay, around 1998 and 1999. I was on eBay constantly trying to see what I could find and get my hands on. When I would get something, I would take it and trade with somebody. This was before Prince was coming down on Web sites for bootlegs. So, you could openly ask people “Hey, where can I find this bootleg? Does anybody have this and can you hook me up?” It was more open. As a result, you were able to build your collection.

  ?: How did you learn all the information that you know about Prince?

  FM3: I love reading. I will read up on and research anything I have an interest in all day long... It's not enough for me to know something on the surface. I need to know why this happened, what was going through your mind when you were doing it and stuff like that. I retained a lot of this knowledge over the years just by reading so much.

  (It) really goes back to that first issue of Uptown Magazine I received. (The magazine) had great attention to detail. When you were reading those magazines, it wasn't like you were reading a magazine in a supermarket and getting superficial information. The information they gave you (made) you feel like you were right there in the studio with Prince and his personnel while these things were happening. Uptown Magazine had a really good investigative team that really got down to the bottom of a lot of things.

  I also read the different forums on Prince.org and Housequake.com, where people asked questions and somebody who knew about whatever the person was asking would would come in there and answer the question. A lot of information came from Prince himself, as far interviews he did, as well as interviews with band members over the years. Another valuable person was Mr. Brown. He knew a lot of stuff that I didn't know, because, he knew a lot of people in the industry who knew “stories behind the story.” He told me information that I had no access to and no knowledge about. I guess it boils down to me just paying attention and just making full use of a lot of the information that was out there.

  This can get annoying to some people where they would say  “Yeah, I remember when this album came out” or “The first Prince album came out in 1977, I remember that day.” I would say “Ummm, actually it was 1978.” So, after that, people just treated me like a stickler for details. It just came from reading and retaining a lot of that information.

  ?: What's your favorite Prince album?

  FM3: That's a hard question and I always cheat when I answer this, because, I always say Parade, Sign o' the Times and Lovesexy. It's hard for me to separate those three albums. It's almost like the trinity: the Father, the Son and the Holy Ghost. That's how I feel about those three albums.

 I say that, because, I feel those three albums represent a turning point in his artistry and career. As great as the albums before and the albums after were, those three albums represent him at the peak of his powers, where he was so in touch and in tune with his music that I can't separate them...Those three albums tell one whole story. You can't have one without the others.

  ?: What kind of story do you think those albums tell? What makes you feel like there is one continuous story?

  FM3: I'll start with Parade: That's when he really allowed Wendy and Lisa to have more of a role in the studio with him and I think the three of them together just created some the most amazing music. With the Parade album and that whole time period, I think that's when he allowed himself to kind of open up and allow other people's influence come into his music to get across whatever he was trying to get across.

  There was a lot of experimentation. There are things on that record that you didn't hear before in his music, period. At that time, it seemed like he was the only artist adventurous enough to do some of the things he was doing. I couldn't hear anybody (else) doing a song like “Do U Lie?” I couldn't hear anybody else doing “Christopher Tracy's Parade.” “Venus De Milo” is just gorgeous, almost brings you to tears. He was an amazing artist and musician before that, but, with the Parade album he tapped into something within himself that wasn't there before.

  He wasn't trying to go after another hit; he wasn't trying to do a “Purple Rain Part 2,” it wasn't anything like that. He got to the point where he wanted his audience to grow with him and he knew after Purple Rain, (some) people were only buying his music, because, he was the “flavor of the month.” He switched it up rather than continue in that vein. He showed people “Okay, I can do that, but, I can do this as well.” 

  That gave me tons of respect (for him), because, he alienated most of those people who bought Purple Rain. You knew then who his core audience was, because, those were the people who wanted to be challenged and who wanted see “Well, okay, you've done Purple Rain already, what else can you do?” He didn't hold back.

  I think that the creative wave he was on lasted through (recording) Sign o' the Times and Lovesexy. Lovesexy was an even more challenging record than Sign o' the Times, because, it was more experimental and it had elements of jazz fusion. I think those three records had things he hadn't done on any of his previous records.     

   On some of his records, like 1999, Purple Rain (and) Around the World in a Day, you can pick out certain songs: “When Doves Cry” and “Paisley Park” had similar elements. “Paisley Park” has no bass, the drum beats are kind of the same. I have said “America” almost sounds like “Baby, I'm a Star.” On each album, I picked out something and said “He's done this before.” With the albums Parade, Sign o' the Times and Lovesexy  he was almost in uncharted territory that he and his audience had never been in before. He made it work.

  ?: How many times have you seen Prince in concert?

  FM3: Last weekend (April 27) in Las Vegas marked my 18^th concert. (The first time was) December 27, 1997 on the “Jam of the Year” Tour in Detroit.

    ?: Do you think that growing up in Detroit and your love for Prince's music are linked?

  FM3: I would say so. I always wished I was older growing up in the 1980s in Detroit when Prince was doing his thing.

  I don't know how it was in other cities, but, in Detroit, you couldn't turn on the radio without hearing Prince on some station. Like I said before, when other stations were playing “Kiss” and “When Doves Cry,” we were hearing “Automatic,” “Lady Cab Driver” and “Private Joy." I think it made the atmosphere for being a Prince fan just a little bit different. It seemed like even though he was from Minneapolis, he was “ours.”

  That's an interesting question, because, I think it would've been different if I had grown up in a different city and been a Prince fan. It's weird to think about how it could have gone. But, I think that me being in Detroit at that time does have a lot to do with it.

  There was a radio DJ here called The Eletrifying Mojo and he really helped break in not only Prince, but, other artists of the “Minneapolis Sound.” He wasn't just playing the hits, he was playing the album cuts as well, so, it gave people who were probably on the fence about Prince and some of these other artists a chance to say “Okay we know what the hits sound like, let's hear what else he sounds like.”

   It gave people a chance to hear who Prince really was outside of the hit maker. As a result, it made people go out and buy the albums. Once (listeners) found out he was a multi-instrumentalist (and) wrote all these songs for people, it gave (listeners) a deeper appreciation for him as an artist.

  One of the examples that I point to is when Prince was doing the “Dirty Mind” Tour (in 1981),.People were used to the cute R&B and Pop hit maker with songs like “Soft and Wet” and “I Wanna Be Your Lover.” DIrty Mind's shock value alienated a lot of people. As a result, on that tour, he was playing a lot of theaters and small clubs. But, because The Electrifying Mojo spent those two years breaking Prince in, by the time he got to Detroit he sold out Joe Louis Arena, which held about 20,000-30,000 people, whereas in other cities, he could barely sell out 2,000-or-3,000-seat theaters and clubs.

  Prince knows that and he's had a great love affair with Detroit, especially throughout the 1980s. Even after “Purple Rain” premiered in Detroit, I don't know how they did it in other cities, but, they gave out posters to the people here. Billy Sparks (who played the club owner in “Purple Rain”) is from Detroit. His two former backup dancers--who started off as bodyguards--- from Parade and Sign o' the Times, Wally Safford and Greg Brooks are from Detroit. A lot of people who were instrumental in his early career, like Quinton Perry, a concert promoter, whom people probably wouldn't if they heard the name, is from Detroit as well.  

  (Prince) used these Detroit connections and it helped break him in, that's why when he kicked off the “Purple Rain” Tour, he kicked it off here in Detroit with seven concerts, if I'm not mistaken. When he played Detroit for his birthday, he wasn't on an official tour, he would do these different concerts, popping up in different cities and they called it the “Hit and Run” Tour. He said on stage that night “I could have stayed in Uptown (a neighborhood in Minneapolis) and partied, but I wanted to come here and party with ya'll.” 

  That was his way of giving back to the city for all the love we had shown him over the years. He played the Cobo Arena, but, the ticket demand was so great that he had to play an extra show at a smaller place before (the birthday concert), just to meet the demand. I also think the “Sign o' the Times” movie premiered in Detroit before it played anywhere else.

?: What's your favorite live performance by Prince? Which one really strikes you every time you watch it?

  FM3: I would say the concert at First Avenue on August 3, 1983, when he first premeired five songs from Purple Rain. That's a good one for me. There's another smaller concert from October 25, 1984 at First Avenue that a lot of people don't know about. It's only about a half hour long, but, I love it to death. It shows him in a loose setting and he is just jamming and having fun. It was an unannounced concert and (the band) did an impromptu jam session.

   There's a concert from the “Parade” era in San Francisco in May 1986. I loved the “Parade" Tour as a whole, but, at this particular concert he was in great mood and he was joking around. He was doing abbreviated versions of a lot of songs (at other shows), but, at this show he was playing the full versions of songs. It showed The Revolution at the peak of their powers. He had added the horn section and it showed what they could do. On that tour, Bobby Z. didn't rely on the drum machine, he was actually playing, so, you got to see his chops as a drummer. It was the beginning of Prince coming into that experimental phase of his career and it really worked out well on the “Parade” Tour.

  There was a “Lovesexy” aftershow from 1988 in New York City. A “Sign o' the Times” Tour warmup show from 1987. In some of the later years there was the “One Nite Alone” Tour in Chicago, that's one of my all-time favorite Prince concerts, period. The “Musicology” Tour in San Jose in 2004. One of the warmup shows he did for the “Musicology” Tour at a place called Club Black is one of his all-time greatest performances. The list could go on and on.

  ?: How did you end up being the person with the answers to everyone's questions on Beautiful Nights?

  FM3: I think it started when people would post things: they might post a picture and I might chime that the picture came from this year or this era. Next thing you know, I would sign on to Facebook and I would have these alerts where someone tagged me and said “Hey, Frank. I have a question for you” or people would debating about something and said “Let's have Frank settle it.”

  The first time I saw that, it kind of threw me for a loop. I don't know anything more than anyone else. I just do a lot of reading.   The same information I can get my hands on is out there for everyone. To see people leaning on me and depending on me and saying “Hey, let's ask Frank”  trips me out sometimes.

  Marcus Scott will tell you, he came to some Prince parties here in Detroit and they had trivia contests. If you win the trivia contests you win a prize. They banned me from playing a few times and said I know too much. They said “If anything, (I) could help (them) come up with questions that will stump people.”

  ?: Is there anything you don't know about Prince or associated artists?

  FM3: As much as I know about Prince, I don't know everything (emphasis added). If anybody were to ask me about lyrics (to songs) in the NPG Music Club era in 2000 and 2001, I would be stumped. I didn't really care too much for a lot of that stuff. Somebody has posted lyrics to (a song) and I said “Wait a minute, which song is that?” Then I would look it up and find out that it's a song I really didn't care for.

  I got into Prince, but, I didn't really do that with the associated artists. I would say that the things I know about them is more on the surface. I couldn't tell you when Morris Day's birthday is. Little stuff like that would trip me up. The way I can get deep on stuff about Prince, I can't do that with the associated artists.

  Going back to Prince, I don't really know personal stuff about him.   Someone was joking the other day and they posted a picture of Prince. They said “His skin is so clear, I wonder how he gets it so clear?” Someone said “Well, ask Frank!” I don't know stuff like that. They were kind of being smart about it. When people say stuff like that, I feel they're kind of coming for me. 

  That's why I make it known that I'm not the one going around telling people that I know everything about Prince, like I'm a walking Prince encyclopedia. I never said that. It's what people put on me. Even when Scott said you wanted to interview me, I said “Why? Nobody cares about me!” He said “Your fans want to know.” I said “Fans? What fans?”

  ?: How did the “Question of the Day” feature between you and Scott on Beautiful Nights get started?

  FM3: It started when we got into this big debate about whether there was a colorized version of “Under the Cherry Moon.” There isn't, as much as fans want to believe there is. Some people said “No, there is one and I've seen color pictures from the movie.” I said “Sorry to burst your bubble, but, there's not.” It became a debate on that one little topic.

  I woke up the next morning and there was a question of the day. So, I answered that one. Then the day after that there was another one. And another one. I said “Wait a minute now!” At first, I thought they were thinking “This dude thinks he knows everything, let's see what we can trip him up on.” Like I tell people, I don't know everything, but, I know what I know. I'm glad it slowed down. I haven't gotten one in a week or so.

  I would dread seeing that in the morning and said “Oh my God. Now I have to come up with these longs drawn-out answers. That's why on one or two of them I said “Feel free to help me out, because, I'm so busy today, I'm not going to be able to sit here and come up with shit.”

  One of the questions was “Name all the people Prince has dated.” I named all the ones I knew about, but, people said “What about Sherilynn Fenn?” I said “Well, okay, dang. You put me up on something I didn't know.” That shows I don't know everything. Another one was “Name the set list from every tour he's ever done.” I went and did the old copy and paste. People were thinking “Oh, he went and typed that whole thing.” I'm like “Hell no.” I added little notes at the end with stuff I did know. But, did they think I was about to sit there and type all of that out. Please!

  ?: Is there anything you would to add for your fans on Beautiful Nights?

  FM3: I'm a cool person. I'm a humble person. I don't want people to think that I'm a know it all, that I know more than them or I'm up on this high horse and things like that.

  There are clearly things I don't know, that's why I sometimes lean on the Beautiful Nights people to help me out. The whole Beautiful Nights fan group is cool, because, we can all learn a lot from each other. I'm learning stuff from people every day and people are learning from me. As we continue to grow as a group we will have a wealth of knowledge at our fingertips.

Stay Beautiful, Kristi

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All photos courtesy of Frank J. Morris III.

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